I’m a Brooklyn-born writer of what’s now called “creative nonfiction,” and whatever literary success I’ve had, I attribute in part to having studied the works of Hunter S. Thompson, Henry Miller, Philip Roth, Joan Didion, and Joseph Heller. I’ve assimilated their voices and used them as guides to help me find my own voice. Read any of my books and you’ll find subtle (and at times not so subtle) echoes of this Holy Quintet. My latest book, A Brooklyn Memoir, is in part an homage to Miller’s Black Spring.
I readFear and Loathing in Las Vegasin college and it blew my mind. I’d never read anything like this outrageous tale of a journalist in search of the American Dream. The plot: Sports Illustrated and Rolling Stone send Thompson to Las Vegas to cover, respectively, a motorcycle race and a district attorneys convention. Thompson, high on hallucinogenic drugs and ether, and with his attorney in tow, takes the notion of “new journalism” into a hilarious new dimension. Thompson was the kind of journalist I wanted to be: a truth-teller who made his own rules. I’ve since read the book about 25 times and it’s made me laugh every time.
'We were somewhere around Barstow on the edge of the desert when the drugs began to take hold. I remember saying something like, "I feel a bit lightheaded; maybe you should drive ..."'
Hunter S. Thompson is roaring down the desert highway to Las Vegas with his attorney, the Samoan, to find the dark side of the American Dream. Armed with a drug arsenal of stupendous proportions, the duo engage in a surreal succession of chemically enhanced confrontations with casino operators, police officers and assorted Middle Americans.
This stylish reissue of Hunter S. Thompson's iconic masterpiece, a controversial bestseller when…
I read Tropic of Cancerat the beginning of my writing career, soon after I’d begun living on my own for the first time. Miller’s life as a Brooklyn boy in Paris, struggling to survive and to write, seemed similar in so many ways to my own life in Manhattan. I’ve since readTropic of Cancer multiple times and have portions memorized. I went through a phase where everything I wrote came out sounding like Henry Miller—that’s how taken I was by his voice. Miller taught me that it’s possible to write a great book that’s voice-driven rather than plot-driven.
Portnoy’s Complaint came out when I was 16. I heard my aunt telling my parents about it. She’d gotten Portnoy from a book-of-the-month club and said it was “disgusting” and wanted to get it out of her house. I didn’t understand how a book titled “Port Noise Complaint” could be disgusting. What were people complaining about? Squawking seagulls? Foghorns? She gave the book to my parents, and a few days later I was sitting at my desk, doing homework, when I noticed it on the shelf: Oh, it’s “Portnoy’s Complaint.” I started reading it. When I got to chapter 2, “Whacking Off,” I understood what my aunt was upset about. Portnoyis one of the funniest books I’ve ever read.
'The most outrageously funny book about sex written' Guardian
Portnoy's Complaint n. [after Alexander Portnoy (1933-)]:A disorder in which strongly-felt ethical and altruistic impulses are perpetually warring with extreme sexual longings, often of a perverse nature.
Portnoy's Complaint tells the tale of young Jewish lawyer Alexander Portnoy and his scandalous sexual confessions to his psychiatrist.
As narrated by Portnoy, he takes the reader on a journey through his childhood to adolescence to present day while articulating his sexual desire, frustration and neurosis in shockingly candid ways.
Hysterically funny and daringly intimate, Portnoy's Complaint was an immediate bestseller upon its publication…
Slouching Towards Bethlehemis a master class in how to write a personal essay. Every essay Didion writes in any of her books is beautifully rendered—she doesn’t waste a word—as well as emotionally engaging and well reported and researched. Whatever she’s writing about—politics, California, rock musicians—you are there with her, on the scene. The book’s preface explains how and why Didion did what she did and contains this nugget of truth: Writers are always selling somebody out. And the title essay is simply the best piece of writing I’ve ever read about Haight-Ashbury and the 1960s.
Joan Didion's savage masterpiece, which, since first publication in 1968, has been acknowledged as an unparalleled report on the state of America during the upheaval of the Sixties Revolution.
We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were
In her non-fiction work, Joan Didion not only describes the subject at hand - her younger self loving and leaving New York, the murderous housewife, the little girl trailing the rock group, the millionaire bunkered in his mansion…
Catch-22 is a laugh-out-loud funny and grotesquely horrific antiwar satire that exposes the absurdity of the military bureaucracy and of war. It focuses on Yossarian, a WWII bombardier who doesn’t want to fly any more missions. The book is so complex and detailed you’ll find something new in it with each reading. The title, meaning a dilemma with no solution, has found its way into the English language—you can look it up in Webster’s. The catch-22 in Catch-22 is this: If you wanted to get out of combat duty you had to be crazy. But anybody who wanted to get out of combat duty wasn’t really crazy. Many years ago, when I was writing about the Pentagon and the military-industrial complex, I often turned to Catch-22 for inspiration.
Explosive, subversive, wild and funny, 50 years on the novel's strength is undiminished. Reading Joseph Heller's classic satire is nothing less than a rite of passage.
Set in the closing months of World War II, this is the story of a bombardier named Yossarian who is frantic and furious because thousands of people he has never met are trying to kill him. His real problem is not the enemy - it is his own army which keeps increasing the number of missions the men must fly to complete their service. If Yossarian makes any attempts to excuse himself from the…
A Brooklyn Memoir is an unsentimental journey through mid-century Flatbush, where Auschwitz survivors and WWII vets lived side by side and the war lingered like a mass hallucination.
Meet Bobby, a local kid who shares a shabby apartment with his status-conscious mother and bigoted father, a soda jerk haunted by memories of the Nazi death camp he helped liberate. Flatbush, to Bobby, is a world of brawls with neighborhood “punks” and Hebrew school tales of Adolf Eichmann’s daring capture. Drawn to images of mushroom clouds and books about executions, Bobby turns the hatred he senses everywhere against himself, but ultimately transcends the toxic forces that surround him. From a perch in his father’s candy store, Bobby provides a darkly comic child’s-eye view of postwar America.
I’m an OB/GYN, passionate about adventuring beyond what’s expected. This has led me to pivot multiple times in my career, now focusing on writing. I’ve written a play, The Post-Roe Monologues, to elevate women’s stories. I cherish the curiosity that drives outer and inner exploration, and I love memoirs that skillfully weave the two. The books on this list feature extraordinary women who took risks, left comfort and safety, and battled vulnerability to step into the unknown. These authors moved beyond the stories they’d believed about themselves–or that others told about them. They invite you to think about living fuller and bigger lives.
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
The team attempts a new route up the East Face without the use of supplemental oxygen, Sherpa support, or chance for rescue. When three climbers disappear during their summit attempt, Zieman reaches the knife edge of her limits and digs deeply to fight for the climbers’ lives and to find her voice.
The plan was outrageous: A small team of four climbers would attempt a new route on the East Face of Mt. Everest, considered the most remote and dangerous side of the mountain, which had only been successfully climbed once before. Unlike the first large team, Mimi Zieman and her team would climb without using supplemental oxygen or porter support. While the unpredictable weather and high altitude of 29,035 feet make climbing Everest perilous in any condition, attempting a new route, with no idea of what obstacles lay ahead, was especially audacious. Team members were expected to push themselves to their…
